Editing Boris Godunov (opera) (section)

==Performance practice==
[[File:Maryinsky Theater in 1900s.jpg|thumb|The [[Mariinsky Theatre]] opened in 1860. ''Boris Godunov'' received its premiere there in 1874.]]

A conflation of the 1869 and 1872 versions is often made when staging or recording ''Boris Godunov''. This typically involves choosing the 1872 version and augmenting it with the St. Basil's Scene from the 1869 version. This practice is popular because it conserves a maximum amount of music, it gives the title character another appearance on stage, and because in the St. Basil's Scene Boris is challenged by the Yurodivïy, the embodiment of his conscience.<ref>Taruskin (1993: p. 248)</ref>

However, because the composer transferred the episode of the Yurodivïy and the urchins from the St. Basil's Scene to the Kromï Scene when revising the opera, restoring the St. Basil's Scene to its former location creates a problem of duplicate episodes, which can be partially solved by cuts. Most performances that follow this practice cut the robbery of the Yurodivïy in the Kromï Scene, but duplicate his lament that ends each scene.

The Rimsky-Korsakov Version is often augmented with the [[Mikhail Ippolitov-Ivanov|Ippolitov-Ivanov]] reorchestration of the St. Basil's Scene (commissioned by the [[Bolshoy Theatre]] in 1925, composed in 1926, and first performed in 1927).

Conductors may elect to restore the cuts the composer himself made in writing the 1872 version [see [[Boris Godunov (opera)#Versions|Versions]] in this article for more details]. The 1997 Mariinsky Theatre recording under [[Valery Gergiev]] is the first and only to present the 1869 Original Version side by side with the 1872 Revised Version, and, it would seem, attempts to set a new standard for musicological authenticity. However, although it possesses many virtues, the production fails to scrupulously separate the two versions, admitting elements of the 1872 version into the 1869 recording, and failing to observe cuts the composer made in the 1872 version.<ref>Taruskin (1999)</ref>

Critics argue that the practice of restoring the St. Basil's scene and all the cuts that Mussorgsky made when revising the opera—that is, creating a "supersaturated" version—can have negative consequences, believing that it destroys the symmetrical scene structure of the Revised Version,<ref name="Taruskin 1993: p. 281"/> it undermines the composer's carefully devised and subtle system of [[leitmotiv]] deployment, and results in the overexposure of the Dmitriy motive.<ref>Taruskin (1993: p. 287)</ref>